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Korea Herald
23-06-2025
- Entertainment
- Korea Herald
Arko launches Sum Festa to bring performing arts festivals together
Arts Council Korea (Arko) seeks to foster collaboration across genres and regions with the launch of its new umbrella brand, 'Sum Festa,' bringing together 17 of the 45 performing arts festivals it supports nationwide. The initiative aims to connect theater, dance, music and traditional arts festivals under one banner, while preserving each event's distinct character and local roots. This summer's lineup includes events such as the Arts in Tank Dance Festival (July 1-27), the ChangMu International Performing Arts Festival (Aug. 22-31) and the Hic et Nunc Festival (Aug. 22-Sept. 5) by the Sejong Soloists. Previously operated independently, the participating festivals will now engage in joint marketing, cross-genre programming and regional partnerships. According to Arko, the unified platform is intended to build greater synergy and reach broader audiences across the country. Actor Park Jeong-ja, who will appear in the Evergreen Theater Festival (July 30-Aug. 17) featuring veteran stage actors, welcomed the initiative. 'There's something heartwarming about these different festivals coming together under one name to meet audiences,' she said during a press conference on Monday. 'Performing arts festivals serve as bridges connecting people and art, and this is a meaningful step toward sharing that connection more widely.' Conductor Baek Yoon-hak, who will lead the opening of the July Festival (July 1–31), a monthlong classical music series celebrating major composers, joined the initiative. 'The performing arts are, by nature, collaborative,' he said. 'Festivals are a larger stage for that collaboration. I hope this shared brand will spark new encounters between artists and audiences, across genres and regions.'
Yahoo
17-06-2025
- Entertainment
- Yahoo
ARKO successfully co-hosts the 10th World Summit on Arts and Culture
Cultural and Creative Sectors exploring the way forward in the age of AI and climate crisis and ascertaining its role in society SEOUL, South Korea, June 17, 2025 /PRNewswire/ -- Arts Council Korea (ARKO) successfully concluded the 10th World Summit on Arts and Culture, welcoming 406 delegates from around the world to Seoul on 27-30 May. The Summit was co-hosted by ARKO and the International Federation of Arts Councils and Culture Agencies (IFACCA) who have custodianship of the World Summits. As humanity undergoes transformative changes driven by artificial intelligence (AI), climate change and the fragmentation of communities, what questions should cultural policy makers and the cultural and creative sectors (CCS) be asking and what answers can they offer? Following the previous Summit in Stockholm, Sweden (2023), Seoul was unanimously selected as the next host city by the Board of IFACCA. The event brought together 406 delegates from 94 countries, including 104 speakers from 62 countries under the theme Charting the future of arts and culture and marked a pivotal moment in global cultural policy dialogue. Arts and Culture at the Intersections of Technology, Climate and Society At the heart of this year's Summit was the issue of AI. Beyond its technical dimensions, AI was addressed as a topic raising fundamental questions about cultural diversity, knowledge sovereignty, and the future of artistic creation. Participants engaged in deep conversations on how AI influences the arts, and how artists can preserve human narratives and their creative autonomy amid growing uncertainties. The Summit provided a platform for diverse voices, including Michael Running Wolf, an AI ethicist and Lead Architect at First Languages AI Reality (FLAIR), who drew from his Indigenous heritage, to share with delegates: "AI is a risk to cultural heritage not because it's intelligent but because it's stupid." He highlighted concerns about data exploitation and language standardization. Highlighting the polysynthetic nature of Indigenous languages, he argued that standardized English-based AI models are incapable of accommodating such linguistic diversity. He further emphasized that the mechanisms of AI replicate colonial patterns of exploitation and threaten cultural expression and intellectual property. Ayoung Kim, media artist from Ayoung Kim Studio, stated, "I make questions, I make suggestions in speculative forms, but it doesn't change the world." In contrast, Michael Running Wolf shared that his AI-based Indigenous language revitalization project is already producing real-world impact. Dr Alexandra Xanthaki, UN Special Rapporteur in the field of cultural rights addressed delegates in the first plenary session, titled The future of culture in times of exponential shifts and delved into questions about the essence of culture in times of crisis. Dr Xanthaki, emphasized that culture should not be confined to individual interests, but should serve to restore humanity and identity. Furthermore, she emphasized that culture should be discussed in the context of human rights and call for future policies that address threats to diversity. The discussion on the relationship between AI and the arts continued during a parallel session titled Elastic futurity in Korean arts and culture: a critical examination. This session raised concerns that, since the dawn of the 21st century, from the Korean perspective, our capacity to imagine the future has diminished. As AI's predictive capabilities grow, fears were voiced that such technology might replace human imagination. In response, science fiction creators introduced narratives that move beyond technological optimism or dystopia, imagining more equitable and alternative futures. This discourse was interconnected to the multi-layered, cultural sensibility of Korea, and emphasized the arts as a space for experimentation to preserve the innate emotion and power of humanity's imagination. Other sessions addressed how the arts respond to global challenges such as the climate crisis, regional imbalances, polarization and the role of participatory systems for culture, solidarity and the resilience of communities and they showcased innovative cultural approaches to the urgent issues of our time. The "Wind" That Lasts Long in Memory: Artistic and Experiential Cultural Program of the Summit, curated by ARKO Breaking away from the conventional format of lecture and discussion-centered international summits, this event was designed as a fluid integration of policy, arts, and cultural experience. Guided by the symbolic theme of "wind," the Summit cultural and gastronomy programme incorporated: Traditional hospitality expressed through bojagi (wrapping cloth) lunchbox A museum tour connecting tradition and contemporary Korean art The Gala Opening inspired by K-pop light stick culture and a celebratory performance themed with Dano Day The street and culinary culture in Daehak-ro area. These elements were carefully curated to leave a lasting wind of inspiration in the minds of delegates after they return to their respective countries. Innovative and participatory session formats Another highlight was the World Café session, where participants from diverse countries and backgrounds engaged in open dialogue on equal footing. Together, they envisioned the world in 2050, discussed key challenges in the arts and culture, and proposed actionable roadmaps in the context of different regions. As stated at an interview by ARKO, Rafael Ivorra Zaragoza, IFACCA board member and deputy director general for international relations and the European Union at the Ministry of Culture, Spain, mentioned that such dialogue was highly effective in helping us understand policy cases from different countries. Other participatory formats included Long Tables and Workshops Phloeun Prim, member of International Programme Advisory Committee (IPAC) for the 10th World Summit and Executive Director of Cambodian Living Arts (CLA), also praised the Summit's approach, stating that conversations in smaller groups enabled deeper reflection. ARKO's policy models gain international recognition as an emerging global policy partner Throughout the Summit, ARKO had the opportunity to showcase their various arts and cultural plans and policies both national and international. These included the Munhwanuri Card (Cultural Voucher), the Youth Culture & Art Pass and APE CAMP, underscore a commitment to inclusivity and sustainability in the cultural ecosystem. Cultural policymakers from various countries complimented ARKO's execution capacity and collaborative spirit, voicing optimism about future joint initiatives. Toward a UN Sustainable Agenda for Culture: a starting point for solidarity and collective action The 10th World Summit on Arts and Culture served as key milestone in the international dialogue on the governance of culture fostering shared understanding and solidarity around cultural policy issues across nations and institutions. Participants built consensus that the inherent value of arts and culture should not be framed merely from the industry perspective. Culture leaders from around the world reaffirmed their commitment to take action through continued international engagement. Kristin Danielsen, Chair of IFACCA and CEO of Arts and Culture Norway, affirmed "Going beyond making statements, the Summit has served to spur new global discussions—including the upcoming UNESCO ministerial-level conference MONDIACULT 2025 in Barcelona this September." She described the Summit as "an inclusive platform for shared thinking, knowledge exchange, and connection." She concluded that "our very presence in Korea itself reflects our strong commitment to arts and culture." In his closing address, ARKO Chair, Byoung Gug Choung declared, "Now is the time to move from query to action and solidarity." He underscored the social responsibility of the arts in addressing cultural inequalities driven by technological development and the climate crisis. His call to "act and connect from wherever we are" highlighted that this Summit went beyond a platform of mere declarations but served as a turning point toward implementation and global cooperation. The Summit provided a dynamic forum in which to formulate strategies for actionable cultural collaboration beyond symbolic declarations. Building on this success, ARKO and Korea are poised to strengthen its position as a hub for implementing sustainable international collaborations in CCS. View original content to download multimedia: SOURCE Arts Council Korea Sign in to access your portfolio
Korea Herald
26-05-2025
- Entertainment
- Korea Herald
Arts Council Korea to Host ARKO Global Week Presenting A Global Vision: Connecting Korean Arts with the World
SEOUL, South Korea, May 26, 2025 /PRNewswire/ -- The Arts Council Korea (ARKO) is hosting "ARKO Global Week," from May 24 until May 30, 2025, featuring a series of major international programs and events that reinforce Korea's role as a global cultural hub. The week includes the 10th World Summit on Arts and Culture, which brings together global leaders from the arts and culture sectors, and APE CAMP, a collaborative platform fostering innovation between emerging artists and technology developers worldwide. Through these efforts, ARKO seeks to position Korea as a key player in international cultural exchange and to open a new chapter in its global engagement strategy. ARKO Announces Global Vision and New International Strategies At a press briefing on May 14 at the ARKO Art Center in Daehak-ro, Seoul, Chairman Byoung Gug Choung unveiled ARKO's new global vision, themed "Connecting Korean Arts with the World." He also outlined a suite of strategic initiatives aimed at deepening international collaboration and creative development, including: 10th World Summit on Arts and Culture to Convene in Daehak-ro The 10th World Summit on Arts and Culture, co-hosted by ARKO and the International Federation of Arts Councils and Culture Agencies (IFACCA), will be held May 27–30 in Daehak-ro. The event is expected to bring together over 400 professionals from more than 80 countries, including 105 speakers representing 62 nations, comprising policymakers, cultural leaders, scholars, artists, and government officials. Under the theme "Charting the Future of Arts and Culture," the summit will tackle global challenges such as AI and digital transformation, climate change, and community resilience, focusing on how the arts can respond to and shape these evolving realities. APE CAMP: A Global Crossroads for Artists and Tech Innovators Launched in 2022, APE CAMP is now in its fourth year as APE CAMP is ARKO's signature international platform for interdisciplinary collaboration. This year's edition attracted over 200 applicants from 67 countries, demonstrating growing global interest. The program includes: The 2025 edition will gather 100 participants from 22 countries, mentored by leading institutions including ZKM (Germany) and SAT (Canada). Participants will engage in hands-on creative experiments that blend artistic vision with emerging technologies. Commemorating 30 Years of the Korean Pavilion at the Venice Biennale To mark the 30th anniversary of the Korean Pavilion at the Venice Biennale, ARKO is presenting the architecture exhibition "Little Toad, Little Toad: Unbuilding Pavilion", on view from May 10 to November 23 at the Giardini in Venice. The exhibition reflects on the past, present, and future of the Korean Pavilion, with a particular focus on sustainability in the architecture of national pavilions. On May 9, ARKO hosted a dedicated architecture forum, "Vision and Legacy: 30 Years of the Korean Pavilion," featuring key figures such as Franco Mancuso, co-architect of the Korean Pavilion, and Cho Min-suk, commissioner of the 2014 Golden Lion-winning exhibition. Launch of ARKO Art Studio and Expansion of International Programs ARKO recently opened the ARKO Art Studio in Pyeongchang-dong, Seoul - a new creative base for visual artists. The facility includes five private studios, an outdoor performance stage, and an academic hall. It will host 10 resident artists, with programming that includes cultural tours, mentorship, seminars, open studios, art fair participation, and exhibitions. In addition, ARKO is expanding global partnerships to support Korean artists abroad. Current collaborators include: In 2025, ARKO is running residency programs with 23 partner organizations across five global regions and has launched new collaborations with institutions such as New Museum's NEW INC (USA), transmediale (Germany), and Ain Shams University (Egypt). New initiatives to support the international visibility of Korean arts include: Additionally, ARKO is also enhancing inbound cultural exchange through a new Inbound Cooperation Program themed around "Regional Decline," encouraging dialogue and experimental artistic responses to this urgent issue. Chairman Choung concluded, "ARKO will continue to take bold steps to foster a sustainable ecosystem for Korean arts. By transcending borders and partnering with global institutions, we aim to make Korean arts more accessible, more connected, and more inspiring to the world." Press materials and images are available for download via the Arts Council Korea Google Drive. [ARKO] 2025_Global Week presskit - Google Drive
Korea Herald
06-05-2025
- Entertainment
- Korea Herald
Sold-out final run of 'Godot' by two veteran stars
Shin Gu, Park Geun-hyung donate one night to next generation of theater artists It's not every day a theater production sells out instantly in Korea -- let alone one headlined by two octogenarian actors. But Shin Gu, 88, and Park Geun-hyung, 84, have done it again. Tickets for their final run of 'Waiting for Godot' were snapped up the moment they went on sale. The production runs from Friday through May 25 at the National Theater of Korea's Daloreum Theater. This farewell staging marks the end of a landmark collaboration that has captivated audiences since its 2023 premiere. From its debut at the National Theater in December 2023, to an encore run in 2024 and a 21-city national tour, the production has sold out 102 performances. Samuel Beckett's existential masterwork, a cornerstone of 20th-century absurdist theater, follows two vagabonds, Estragon (played by Shin) and Vladimir (Park), who wait and wait endlessly for a mysterious figure named Godot, who never arrives. Shin and Park, long embraced as familiar father figures and steady on-screen mainstays, deliver an interplay onstage -- seasoned and rhythmic back-and-forth -- that has resonated deeply with audiences. Both in their 80s, they aren't exactly the usual stage heartthrobs -- but the actors credited the show's sold-out success to audiences in their 20s and 30s, a demographic not typically drawn to modernist absurdist drama. 'Young people today live in a world filled with absurdities,' Shin said during a recent press conference. 'I think they connected with the play because the irrational world Beckett created feels close to their own.' Park agreed. 'Waiting for something that may not even exist -- isn't that just like life? Especially for young people today,' he said. 'That's why we decided to dedicate one of our final shows as a donation performance -- to connect with them more directly.' For that one-night benefit performance, scheduled for May 13, both actors waived their appearance fees. In adidtion, all proceeds from that performance, will be donated to a fund established by the Arts Council Korea, a national development agency for the arts of Korea, to support emerging theater artists. 'With all this love we've received, we wondered how we could give something back,' said Shin. 'We wanted to return the favor -- not only with a good performance, but with something that might help younger artists in a meaningful way.' The two said it was disheartening to see that the theater environment they experienced in their youth has changed so little even now. 'The arts need a strong foundation to grow,' Park added. 'Just as a nation needs a solid base to stand upright. Now that we're in the twilight of our lives -- physically and spiritually -- this is something we felt we had to do.' 'The theater world is, in truth, facing a difficult situation. Many actors working in this field are genuinely going hungry. According to statistics, 50 percent of theater actors earn less than 250,000 won ($180) a month purely from theater work,' said Arko Chairman Choung Byoung-gug. 'The seed money will grow into something larger. We'll be launching a campaign to encourage broader donations, building on the generosity of these two great artists,' Choung added.
Korea Herald
20-02-2025
- Entertainment
- Korea Herald
Dancing to faraway places where memory, dreams weave new lands
99 Art Company's 'Les Voyageurs du Lointain' bridges West African, Korean cultures A group of dancers chant softly, occasionally repeating the phrase "Yiriba, yiriba." Reverently carrying a balafon, the barefoot dancers circle the stage, which trembles gently under their rhythmic stomps. The scene transports the audience into the world of "pian," a term in Korean that suggests a faraway realm beyond reality. 'Les Voyageurs du Lointain" (French for "The Voyagers to Afar') is a new work by 99 Art Company and one of 31 productions featured in this year's ARKO Selection, the Arts Council Korea's annual performing arts support project. The work had its first run on Feb. 13-16. Choreographer Jang Hye-rim said the ritual-like scene was inspired by two griots from Burkina Faso, currently living in Korea, who explained how the gourd-resonated xylophone is made. A griot is a hereditary profession in West African culture. Through the preservation of oral histories, griots serve as historians, storytellers, singers, poets and musicians integral to the region's cultural heritage. Jang got in touch with Emmanuel Migaelle Sanou, a dancer from Burkina Faso living in Korea, and was introduced to two other Burkinabe members of Koule Kan, an African music troupe in Korea, while researching a previous work. At the audience talk after the performance on Saturday, Salifou Diabate, one of the griots, recounted the stories and explained how the trees used to make the instruments are chosen: The wood must come from a dead tree. Once the tree dies, they wait three years before cutting it down, allowing the wood to bid farewell to its surrounding trees. When the wood is finally cut, it is by hand, not with machines, and the instruments must also be made by hand. 'It was such a beautiful story. I thought, I shouldn't just let this instrument appear, so I created that scene,' Jang explained. The word 'yiriba' means 'big trees,' she added. The production beautifully merges traditional music and dance from Burkina Faso with Korean dance, creating a unique artistic voyage. It's as if the dancers are performing a ritual for the earth. Jang noted that Korean dance often draws inspiration from nature, which naturally led her to consider the meaning of land. 'What land?' was the question that soon followed. 'The land we live on is land, but nature's land is also land, and the land that has been destroyed is land, too. All these thoughts led to the realization that the land is not ours but something we have been gifted, a place we must care for,' said Jang. 'This made me ponder over whether we are not also beings of migration. Then, I wondered what it would mean for a human with a history of migration to enter this place.' But migration here is not limited to movement between countries. At the beginning of the performance, each dancer recounts how they moved from city to city, district to district, all from their birthplaces. 'In the end, this dance depicts the journey of humans or nonhumans who had to leave their native land for various reasons, embarking on a journey toward a faraway land,' said Jang. The two griots create music on stage using various instruments like the balafon, kora and djembe — some improvised, others rooted in tradition — while the dancers hum and sing along. With the audience sitting close in a circular formation on stage, tapping feet, brushing fabric and breathing create a delicate soundscape. 'During rehearsals, I usually sit on the floor instead of a chair to feel the energy of the dancers more intimately. When I saw this piece from that perspective, I just loved it. It was crucial to bring the audience into this energy," Jang said. Jang has been leading the Korean dance-based contemporary dance company since 2014. As its artistic director, she aims to create "dance that resonates with the soul." Jung, who won the top prize at the Seoul Arts Awards last year for her choreographic piece "Burnt Offering III," hopes to develop works that fully engage the entire ensemble. The 99 Art Company is preparing for a European tour later this year with "Burnt Offering III."
